'The Dreamlife of Vernacular Agents (or My Life as a House)' looks at a specific architectural site of a child’s playhouse, as it currently exists within my ancestral home of rural Nova Scotia Canada, as embodying a position of neither/nor within the form of architecture. This position, referred to as a superposition, is described through a comparison of opposing poles in which this state-of-being manifests. This particular structure maintains a state of flux between two definitions: neither model nor house. As result this representation exists within a goldilocks zone defined by what it is not; however, claiming a construction of both simultaneously. This is a position I define as essential to my queer experience.

This work operates as a queer position of the construction of a sexual identity while operating as metaphor for larger societal definitions of space and use value. The material and aesthetic processes implemented in the production of this sculptural video installation are intended to re-examine the (re)presentation of decay, authenticity and reconstruction within the metaphor of a house. This piece extrapolates poetic sensibilities from an entropic representation in the form of forgotten plaything while enacting its failure of exactitude as generative. This work fundamentally inverts definitions of architecture and sexuality by animating the very subject of the house itself, to enable it to speak of itself, by itself.

The Dreamlife of Vernacular Agents
(or My Life as a House), 2020

3D printed PLA plastic, hardware and acrylic, HD Video with rear projection 15’36”

211.5 x 183.5 x 166.5 cm

Produced with generous support of Margaret Hewitt, Rutgers University, Autodesk Technology Center Boston, WOMP and my grandmother Dorothy Carson.


Cave, 2020

Archival pigment print mounted on canvas board with acrylic,
LED lighting, lighting gels, tinfoil, hardware and wire.
41.5 x 42.5 x 10 cm

Installation views: MFA Thesis Exhibition I, No One Island, Rutgers University, New Brunswick NJ, 2020